Shirozina

But it isn't capable of 12 sops of 'usable' DR.

So many hopes and dreams projected on that tiny M43 sensor ........

Agree on that - no debate possible when someone has irrational ideas. For everyone else you may want to finance that new bit of kit by selling all your existing gear and then buying the same gear back at a lower price and then using the difference to buy your new gear. Infact if you do this on a regular basis you will have quite a tidy income stream. Come to think of it I'm amazed why more people don't bother doing this on a regular basis - probably because they are ' negative nancie's' like me

and some are just delusional

I had an A7s for video only and many of those were non issues. The reason I didn't use it for stills was that 12mp is not enough for most commercial jobs. I use A7r2's for stills and none of those issues bother me at all. No camera is perfect but to say Sony mirrorless cameras (I assumed you meant the whole system and not just a video orientated A7s) have 'major' issues and flaws is stretching it a bit far - maybe try the A7r3 which I think will address most if not all of your current problems?

But CaNikon are stuck with a legacy lens system designed for use on a DSLR - should they dump their current lens systems and upset a huge customer base or make parallel lens systems ? Both are financially risky. Sony doesn't have "major ergonomic issues and flaws in practical use" - just saying......

Agree - once it was desirable to use the best features of each ( PP for editing and Audio - Resolve for grading) but recent editions of both apps have brought them much closer together in terms of capability. I'd still argue that Resolve is better for grading but it's no longer significantly inferior in other areas and PP is not too bad for grading (I just find the interface messy). You do need the studio version to work with 4k 10bit GH5 files but the price is not unreasonable and if you are doing a lot of work I'd say well worth it for not dealing with transcoding and roundtriping which are 'workarounds' and not 'workflows'.

Obviously with enough time you can find some fool who will buy a lens for more than the average market value and another desperate person who will sell a lens for less than the average market value. and this is also just selling privately with all the risks that entails.If you buy and sell on Ebay you get hit with charges and if you use a dealer they have profit margins. Also if you buy new - good luck on selling at a higher price when it's second hand.

Not all photographic situations require large DR and the 5D3's DR is more than adequate for most situations. You loose money when you swop systems unless you downgrade or buy less lenses. Investment in a lens system IS a big deal for most people. My Canon lens system has multiple times more financial value than my camera bodies. Camera bodies are short term assets with limited lifespans due to sensor tech evolution where as lenses are largely a mature technology and a long term investment. Not everyone has just a 'few' lenses nor a large fund to swop systems '4-5' times either.......

With a recent version metabones adapter the A7r2’s AF not at all bad for stills. Wouldn’t want to use it for sports though. For video - forget it and use MF

That's not been my experience and with proxy workflows now available in most good NLE's why take the risk ?

But can't be used with the OP's existing Canon lenses

Get a used A7r2 - the prices are very reasonable at the moment.

I've just loaded them on my A7r2. So far the Pro Log Cinema is looking the most interesting.

Just get (the very good and much better than the internal codec) 8bit 4.2.2 it can already feed to the HDMI into a higher bitrate and on to a card - shouldn't take too much processing power...........

Adding a polarizer to a variable ND is basically stacking 3 polarizers together which is unlikely to be without problems. I'd use a fixed ND filter to get your exposure right and then a polarizer to get the reflection reduction effect. In any filter stacking situation it's advisable to use multi coated filters and a good lens shade. This applies to any lens and is not anything specific to an E-Mount lens.

Lots of 'news gathering' video setups have a 416 on the camera. It's been used for years and it sounds 'right'. When you hear it against a cheaper mic in an ideal setup you will instantly be able to tell it's better. It will suit your purposes and be a good investment. A camera mounted mic is not ideal / really bad idea for good sound capture but for a one man operation you don't have much choice. Also be aware that shotgun mics are very sensitive to wind / air movements so also budget for a good wind shield. Even moving a 416 about in still air can cause rumble. There are lots of good sound repair / noise reduction tools in NLE's these days but it's a lot of extra work when editing - a lot of extra work! When you add it all up in cost and time it's just better to pay a sound recordist to work with you and ensure you have good clean audio. The fact that you are making a significant investment in a camera for this job suggests this is a serious project so skimping on audio may be unwise.....

To be clear - unless you can get the 416 close and on axis then it's going to be 'sub -optimal' to say the least. If you are building up a sound capture system the 416 is a good investment. If you can hire an assistant you can get it off the camera and on a boom pole over or under the subject out of frame. Shotguns are close distance tools like macro lenses - they are not like telephoto lenses where you can stand back and focus in on the sound.

+1 and make sure you get the camera as close as possible to the subject. Off axis sound on these mic's ( all shotguns) is not nice as is any room reverb. Make sure you get the 48v and not the T power 416.

Could be useful on the GH5 then......

Y Yep - been there in hi-fi myself. You can get to the point where you are more interested in the 'reproduction of sound' than the music. You stop when you realise that you don't need perfect fidelity to appreciate amazing music. Then again that is essentially what ' the hi-fi world' is about and it's not necessarily a music thing.......

The rule in audio is that a cheap mic close to the subject is better than an expensive mic further away. I'd go for a Lav if you are on a budget.

Not true - bit rate is just data rate and not data quality. I've seen Sony XAVC from my A7R2 (not even log) and even 10 bit internal from my GH5 fall apart in grading when trying to transcode to 422HQ (banding appears in the skies) when I had wrongly assumed that Prores was making copy without any data loss. Transcoding to a lossless codec works but the data bloat is unworkable (which shows how much compression is used even in ProRes).

Transcoding to ProRes is not lossless - use a proxy workflow to get footage you can easily manipulate in your NLE but still generate your final output from the original footage. That’s the whole point of a proxy workflow.

Needs the hood and even then difficult to see in bright sunlight. Likely they will bring out a replacement at some point but as of now I'd put up with the larger size of the flame to get the usability outside and if you have a GH5 the 10bit 4.2.2 60p. Although I 'upgraded' from the original Shogun to get the PIX-E as I wanted something smaller the fact is that the 7" screen is a lot easier to use for focusing.